Silky Denims: August 2017

Thursday, August 31, 2017

The Oscar Peterson Trio - Walking The Line (Remastered)

Bitrate: MP3@320K/s
Time: 41:40
Size: 95.4 MB
Styles: Piano jazz
Year: 2005/2014
Art: Front

[5:11] 1. I Love You
[5:28] 2. Rock Of Ages
[5:16] 3. Once Upon A Summertime
[3:54] 4. Just Friends
[5:03] 5. Teach Me Tonight
[5:02] 6. The Windmills Of Your Mind
[6:34] 7. I Didn't Know What Time It Was
[5:10] 8. All Of You

Bass – Jiri "George" Mraz*; Drums – Ray Price (3); Piano – Oscar Peterson. Recorded at MPS-Studio, Villingen, November 10-13, 1970.

Oscar Peterson's series of recordings for Hans Georg Brunner-Schwer during the 1960s and early '70s are one of many high points in his long career. With George "Jiri" Mraz on bass and Ray Price on drums, Peterson's flashy romp through "I Love You" (complete with a humorous detour into the opera "Pagliacci") and mid-tempo walk through "All of You" salute Cole Porter in style on Walking the Line. "Rock of Ages" isn't the old hymn but a lively, gospel-inflected Peterson original that will easily get any congregation swinging and swaying to the music. His mastery of the ballad form is heard in his sensitive interpretation of "Once Upon a Summertime," which showcases Mraz's gorgeous tone, as Price sits out this one. ~Ken Dryden

Walking The Line (Remastered)

Molly O'Mahony, Norman Collins - Quiet Nights Of Quiet Stars

Bitrate: MP3@320K/s
Time: 44:13
Size: 101.2 MB
Styles: Bossa Nova
Year: 2010
Art: Front

[2:53] 1. One Note Samba
[2:54] 2. Halleluia I Love Her So
[4:40] 3. How Insensitive
[4:05] 4. Jealousy
[3:04] 5. If You Never
[3:30] 6. Boy From Ipanema
[3:14] 7. Night Train
[3:41] 8. Quiet Of Quiet Stars
[3:15] 9. Wave
[2:46] 10. Meditation
[3:41] 11. Triste
[4:15] 12. Cry Me A River
[2:09] 13. Sway

Eight of the songs are by Antonio Carlos Jobim, the late Brazilian composer who basically launched the Bossa Nova movement in the 1960s. Attempting a Jobim-themed album is audacious for two reasons: first, it follows in the footsteps of artists like Frank Sinatra, Ella Fitzgerald and, of course, Stan Getz and Astrud Gilberto. Second, singer Molly O'Mahony and guitarist Norman Collins are from Ireland's Mizen Peninsula.

It might counterintuitive for an Irish duo to play mostly Brazilian music, but both come out of a setting of mountains and ocean, and the playing and singing is (though excellent) cool and uncluttered. So, it probably makes more sense than first meets the eye.

This CD is suffused with large and small pleasures. Perhaps the only unfortunate aspect may be its title, which is similar to Diana Krall's "Quiet Nights." I like this one better. ~Sirch

Quiet Nights Of Quiet Stars

James Hunter - People Gonna Talk

Bitrate: MP3@320K/s
Time: 40:15
Size: 92.2 MB
Styles: Retro soul
Year: 2006
Art: Front

[3:14] 1. People Gonna Talk
[3:02] 2. No Smoke Without Fire
[2:28] 3. You Can't Win
[4:13] 4. Riot In My Heart
[2:27] 5. 'til Your Fool Comes Home
[2:30] 6. Mollena
[4:03] 7. I'll Walk Away
[3:16] 8. Watch And Chain
[1:55] 9. Kick It Around
[2:34] 10. Don't Come Back
[3:44] 11. It's Easy To Say
[1:51] 12. Tell Her For Me
[2:19] 13. Talkin' 'bout My Love
[2:32] 14. All Through Cryin'

Truly a man, and an album, out of time, James Hunter travels back to the '60s for this slinky shot of retro soul-blues. The singer/guitarist/cartoonist's (he draws the comical caricatures of the band in the liner notes) third album for his third label, isn't a departure from previous releases, but it summarizes what he does best. Kicking off with the Caribbean breeze of the title track, things quickly shift to the funky Austin Powers soul of "No Smoke Without Fire." Hunter's combo of twin saxes, bass, drums, and his own tasty guitar makes for unique jazz/blues/pop that has its roots in Ray Charles' small combo, King Curtis, and Van Morrison's early-'70s work, in particular His Band and the Street Choir. Vocally, Hunter's croon falls on the smooth Sam Cooke side of Boz Scaggs. The album seems like it was made in the late '50s, and the clean sound along with Liam Watson's spacious production is the only giveaway that it was recorded in 2005. None of this would amount to much though if the songs didn't connect, and these do. Perfectly written and arranged, these are each polished gems with instantly memorable choruses and lyrics that although heavy on moon-June-spoon, never sound forced or uncomfortably contrived. Hunter is a punchy, pithy guitarist, cranking out taut solos with the economy of Steve Cropper. Some tunes such as "Talkin' Bout My Love" with its jaunty horns and twistable beat seem like they were grabbed from, or written for, a '60s beach flick. At 14 tracks running 40 minutes, it's over before you want it to be, always the sign of a quality album. An anomaly in 2006 with its mini sax section and sparse, danceable songs, the album nonetheless shimmers with hip-shaking grooves. Although the disc is decidedly retro, it exudes classy, cool fun that feels timeless. An instant party starter, it'll make you want to do the Twist, the Jerk, the Shimmy, and the Mashed Potato, or at least learn how. ~Hal Horowitz

People Gonna Talk

Tom Howard, The London Fox Players - Our Love Is Here To Stay

Bitrate: MP3@320K/s
Time: 35:02
Size: 80.2 MB
Styles: Easy Listening
Year: 2012
Art: Front

[3:02] 1. Our Love Is Here To Stay
[2:54] 2. My Melancholy Baby
[4:33] 3. Count The Stars
[4:03] 4. The Love Nest
[2:35] 5. Play A Simple Melody
[3:43] 6. Love Goes On
[4:07] 7. My Buddy
[4:25] 8. You Made Me Love You
[2:59] 9. Love's Old Sweet Song
[2:36] 10. Ain't We Got Fun

Our Love Is Here To Stay

Bireli Lagrene - Blue Eyes

Bitrate: MP3@320K/s
Time: 59:57
Size: 137.2 MB
Styles: Guitar jazz
Year: 1998
Art: Front

[3:32] 1. A Foggy Day
[6:30] 2. Witchcraft
[3:19] 3. The Lady Is A Tramp
[4:10] 4. I've Got A Crush On You
[2:34] 5. My Kind Of Town
[7:06] 6. I've Got You Under My Skin
[4:15] 7. It's All Right With Me
[2:29] 8. You Make Me Feel So Young
[7:16] 9. Come Fly With Me
[5:19] 10. Here's That Rainy Day
[4:30] 11. Luck Be A Lady
[4:14] 12. April In Paris
[4:36] 13. Autumn In New York

Throughout his career, Bireli Lagrene has often confounded expectations. He started out as a brilliant young Django Reinhardt impressionist; a few years later, he switched to rock-oriented fusion, and then returned to straight-ahead jazz with a more original (if blander) voice than he had displayed in his Django days. On this 1997 set Blue Eyes, a tribute to Frank Sinatra, Lagrene not only plays with swing and subtlety in a conventional quartet (with pianist Maurice Vander, bassist Chris Minh Doky, and drummer André Ceccarelli), but sings a few numbers quite effectively. The 13 selections include such standards as "The Lady Is a Tramp," "My Kind of Town," "Come Fly with Me" and "Luck Be a Lady" and are all associated with Sinatra; the treatments given by Lagrene and his quartet are melodic, tasteful and full of cheer. ~Scott Yanow

Blue Eyes

Patti Wicks Trio - Italian Sessions

Bitrate: MP3@320K/s
Time: 47:33
Size: 108.9 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[3:47] 1. This Hotel
[3:21] 2. I've Got The World On A String
[4:14] 3. Where Do You Think You're Going
[4:43] 4. E Minor Waltz For Gavin
[2:23] 5. A Beautiful Friendship
[4:37] 6. I Keep Goin' Back To Joe's
[7:25] 7. Laura
[4:57] 8. It Might As Well Be Spring
[3:51] 9. Here's To Romance
[4:37] 10. Day Dream
[3:32] 11. Baby Don't You Quit Now

Patti Wicks: piano, vocals; Giovanni Sanguineti: bass; Giovanni Gullino: drums. Featuring Gianni Basso: tenor saxophone.

Patti Wicks represents the historical apex of female jazz pianists/vocalists, with Nina Simone and Shirley Horn on one side and Patricia Barber and Dena DeRose on the other. Wicks has loads of talent and the unique ability to take the simplest cocktail jazz trifle and make it sound like Shakespeare. Her previous recordings, Room at the Top, Love Locked Out and Basic Feeling, all tastefully revealed a vast, understated talent worthy of ample acreage in the field of jazz vocals. Wicks' voice is nominally considered an alto, but that tag may be misleading. It's deep and broad, speaking of experience, which is in this case is practice obtained from years on the bandstand.

A wicked ballad performer like her friends Rebecca Parris and Nancy King, Wicks' voice and time can add an additional dimension to any song she sings. "This Hotel opens The Italian Sessions. Brushes on the snare and careful bass playing buoy Wicks' piano and voice on a light wave. If music had a smell, this one would be of just-lit, filterless Lucky Strikes and vodka martinis. Wicks' piano and voice blends the smoky and the heady in a solution of relaxed bliss. Wicks' arrangement of "I've Got the World on a String is a revelation. The song is counted off and introduced by two rapid staccato chords that recall Nat King Cole. Wicks' conversational singing style is best illustrated here as she comfortably strolls through the Ted Koehler lyrics.

The Italian Sessions sport two Wicks originals, the slowly lilting "E Minor Waltz for Gavin, where Wicks' piano playing mimics her vocal style, and "Here's To Romance, where she address love in a waltz, laconically resisting love's wiles. Her smart piano soloing closely follows her vocal approach. On the upbeat side, Wicks' playfully romps through the Kahn and Styne standard "A Beautiful Friendship. She makes Fisher and Segal's "I Keep Going back to Joe's her "saloon song in the same way Sinatra did with "One More For the Road. Here it's not Lucky Strikes and vodka, but a Cohiba Coronas Especiales with a single-malt scotch.

Recorded with an Italian rhythm section, The Italian Sessions recalls the ambience of Wicks' last recording, Basic Feeling, where she employed the same players, drummer Giovanni Gullino and bassist Giovanni Sanguineti. Tenor saxophonist Gianni Basso makes a dry, reedy appearance on "Laura and "It Might as Well Be Spring, but the real star here is Wicks, whose talent cannot be contained—and shouldn't be. ~C. Michael Bailey

Italian Sessions

Artie Shaw - King Of The Clarinet (1938-39 Live Performances) Disc 3

Styles: Clarinet Jazz, Swing
Year: 1993
File: MP3@320K/s
Time: 65:08
Size: 152,5 MB
Art: Front

(2:32) 1. I Can't Believe That You're In Love With Me
(2:14) 2. Oh, You Crazy Moon (with Tony Pastor)
(2:38) 3. I'm Yours
(2:58) 4. What's New (with Helen Forrest)
(2:03) 5. It Had To Be You
(2:23) 6. This Can't Be Love (with Helen Forrest)
(4:57) 7. Everything's Jumpin'
(3:27) 8. I Can't Give You Anything But Love (with Helen Forrest)
(3:11) 9. I Cover The Waterfront
(3:19) 10. Over The Rainbow (with Helen Forrest)
(3:39) 11. Back Bay Shuffle
(3:49) 12. Summer Souvenirs (with Helen Forrest)
(2:39) 13. Ya Got Me
(3:51) 14. Got The Mis'ry (with Tony Pastor)
(2:45) 15. I Didn't Know What Time It Was (with Helen Forrest)
(2:50) 16. The Yam
(4:11) 17. I Haven't Changed A Thing (with Helen Forrest)
(1:50) 18. If What You Say Is True
(2:36) 19. Maria My Own
(3:16) 20. Last Night (with Helen Forrest)
(2:39) 21. Hold Your Hats
(1:12) 22. Nightmare (Closer)

The surprise success of his 1938 recording of "Begin the Beguine" made the clarinetist into a superstar and his orchestra (who featured the tenor of Georgie Auld, vocals by Helen Forrest and Tony Pastor, and, by 1939, Buddy Rich's drumming) into one of the most popular in the world. Billie Holiday was with the band for a few months, although only one recording ("Any Old Time") resulted. Shaw found the pressure of the band business difficult to deal with and in November 1939 suddenly left the bandstand and moved to Mexico for two months. When Shaw returned, his first session, utilizing a large string section, resulted in another major hit, "Frenesi"; it seemed that he could not escape success. Shaw's third regular orchestra, who had a string section and such star soloists as trumpeter Billy Butterfield and pianist Johnny Guarnieri, was one of his finest, waxing perhaps the greatest version of "Stardust" along with the memorable "Concerto for Clarinet." The Gramercy Five, a small group formed out of the band (using Guarnieri on harpsichord), also scored with the million-selling "Summit Ridge Drive." Despite all this, Shaw broke up the orchestra in 1941, only to re-form an even larger one later in the year. The latter group featured Hot Lips Page along with Auld and Guarnieri. After Pearl Harbor, Shaw enlisted and led a Navy band (unfortunately unrecorded) before getting a medical discharge in February 1944. Later in the year, his new orchestra featured Roy Eldridge, Dodo Marmarosa, and Barney Kessel, and found Shaw's own style becoming quite modern, almost boppish. But, with the end of the swing era, Shaw again broke up his band in early 1946 and was semi-retired for several years, playing classical music as much as jazz.

His last attempt at a big band was a short-lived one, a boppish unit who lasted for a few months in 1949 and included Zoot Sims, Al Cohn, and Don Fagerquist; their modern music was a commercial flop. After a few years of limited musical activity, Shaw returned one last time, recording extensively with a version of the Gramercy Five that featured Tal Farlow or Joe Puma on guitar along with Hank Jones. Then, in 1955, Artie Shaw permanently gave up the clarinet to pursue his dreams of being a writer. Although he served as the frontman (with Dick Johnson playing the clarinet solos) for a reorganized Artie Shaw Orchestra in 1983, Shaw never played again. He received plenty of publicity for his eight marriages (including to actresses Lana Turner, Ava Gardner, and Evelyn Keyes) and for his odd autobiography, The Trouble With Cinderella (which barely touches on the music business or his wives), but the outspoken Artie Shaw deserves to be best remembered as one of the truly great clarinetists. His RCA recordings, which were reissued in complete fashion in a perfectly done Bluebird LP series, have only been made available in piecemeal fashion on CD. ~ Scott Yanow http://www.allmusic.com/artist/artie-shaw-mn0000511029/biography

King Of The Clarinet (1938-39 Live Performances) Disc 3

Linda Eder - Now

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 43:50
Size: 101,6 MB
Art: Front

(3:19) 1. Not Gonna Fall This Time
(2:51) 2. No Finer Man
(3:40) 3. Ordinary People
(3:34) 4. The Heat of The Night
(5:39) 5. What Did You See Inside The Stars?
(3:20) 6. Now
(3:03) 7. The Mad Hatter
(3:44) 8. A Woman In His Arms
(3:26) 9. Good Bye
(3:08) 10. What's Never Been Done Before
(4:27) 11. More Than Heaven
(3:35) 12. Living In The Shadows

There is a certain irony to the title of Linda Eder's reunion with her musical partner, theater composer Frank Wildhorn. Naming the album Now calls attention to the contents, which consist of newly written Wildhorn compositions with lyrics by the likes of Leslie Bricusse, Don Black, and Maury Yeston. But not only is the style of the music not current, it is rooted in a particular time. Back in the mid-'60s, pop singers like Tony Bennett and Barbra Streisand used to make albums that sounded a lot like this by picking and choosing material from Broadway shows and movie themes of the day. Another good source was South American or European songs with newly commissioned English lyrics. But here, Wildhorn has written tunes that sound like the traditional pop of the mid-‘60s, set to string orchestras and big bands, with Eder singing in her typically passionate style. Reused titles like "Ordinary People," "The Heat of the Night," and even "Now" (there was an earlier song by that name sung by Lena Horne in the ‘60s) emphasize the neo-retro nature of the project. While most of the music may have been written especially for Eder, one song, "Mad Hatter," anticipates the next Wildhorn musical, Wonderland, and is the album's jazziest, liveliest number. The overall style, however, is lush and romantic, appropriate for Eder, who is, as always, something of a Streisand soundalike. One might say, in fact, that her Streisand-lite approach is often more enjoyable than the real thing, since, while Eder's voice bears definite similarities to Streisand's, as does her phrasing, she isn't as mannered as Streisand. Still, music written in the style of an era Streisand dominated can't help but evoke the earlier singer. ~ William Ruhlmann http://www.allmusic.com/album/now-mw0002101565

Personnel: Benny Reid, Aaron Heick, Roger Rosenberg, David Mann , Charles Pillow (saxophone); C.J. Camerieri, John Chudoba, Tony Kadleck (trumpet); Dan Levine , Jeff Nelson , John Fedchock (trombone); Dan Nimmer (piano); Clint DeGanon (drums).

Now

Tony Monaco - Fiery Blues

Styles: Jazz Fusion, Jazz Funk
Year: 2004
File: MP3@320K/s
Time: 74:42
Size: 171,5 MB
Art: Front

(6:38) 1. Goin' to a Meetin'
(4:38) 2. Everyday I Have the Blues
(7:03) 3. Greasy Spoon
(5:33) 4. Mellow Soul
(5:42) 5. Ashleen
(6:43) 6. Crosscut Saw
(7:32) 7. The Hooker
(8:18) 8. Stormy Monday
(8:25) 9. All Blues
(4:33) 10. The Preacher
(9:31) 11. Takin' My Time Blues

Tony Monaco's explosive Fiery Blues session may be his best ever. Settling into a comfortable groove, he unleashes the soulful power of the blues, and its magnetic attraction holds you in its spell. Guitarist Derek DiCenzo and drummer Louis Tsamous have developed a delicious rapport with the organist. Together, they interpret standards and originals with vibrant energy. As the house starts rockin' and the fires heat up, each artist provides more fuel. Monaco drives with genuine soul. Horace Silver's "The Preacher" opens with guest saxophonist Gene Walker spreadin' the word. His emotional outpouring leads to a burning guitar tribute by DiCenzo. Then Monaco sums it up with a sermon that would convince any audience. "All Blues" features Robert Kraut on guitar, as he and Monaco team with Tsamous to give that familiar theme a fresh look. The piece connotes mellow textures, but Monaco's trio kicks it into high gear. With a similar drive, the organist takes Don Patterson's "Mellow Soul" on a trip. Walker returns, and the ensemble builds from its casual atmosphere into a classic tumult on Monaco's fiery spirit. Blues singer Willie Pooch joins for three selections, giving the listener a strong prescription for what ails ya. His persuasive interpretations, particularly on "Stormy Monday," give the session another avenue to reach out forcefully. Monaco's session connects with his audience convincingly, from one man's heart to a world of open arms. ~ Jim Santella https://www.allaboutjazz.com/fiery-blues-tony-monaco-review-by-jim-santella.php

Personnel: Tony Monaco -Hammond B3 Organ; Robert Kraut, Tom Carroll, Derek DiCenzo - Guitar; Louis Tsamous, Jim Rupp - Drums; Gene Walker - Saxophones; Willie Pooch - Vocals.

Fiery Blues

Duke Ellington - The Cosmic Scene

Styles: Piano Jazz
Year: 1958
File: MP3@256K/s
Time: 43:58
Size: 81,7 MB
Art: Front

(3:22) 1. Avalon
(4:57) 2. Body and Soul
(3:03) 3. Bass-Ment
(3:10) 4. Early Autumn
(2:55) 5. Jones
(2:49) 6. Perdido
(5:07) 7. St. Louis Blues
(2:33) 8. Spacemen
(3:38) 9. Midnight Sun
(4:59) 10. Take the "A" Train
(4:46) 11. Body and Soul (alternate take)
(2:35) 12. Jones (alternate take)

Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed "the Spacemen" in 1958, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them down even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin "Butter" Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features "Avalon" and "Early Autumn," the slinky stripper pole blues version of "St. Louis Blues" with Ellington's piano taking the lead, and two versions of "Body & Soul," with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the main take, while faithfully playing the original melody on the alternate selection. There's a modified "Perdido," an animated and perky "Midnight Sun" that deviates from any other slow and lugubrious version of the ballad, and two attempts of "Jones" the first a real good swinger, the second with a more unified horn chart accented by a New Orleans shuffle provided by drummer Sam Woodyard. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing "Bass-Ment," and one of the more delightful of all of Ellington's book, the poppin' and boppin' "Spacemen," a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. ~ Michael G.Nastos http://www.allmusic.com/album/the-cosmic-scene-duke-ellingtons-spacemen-mw0000752803

Personnel: Duke Ellington – piano; Clark Terry – trumpet; Quentin Jackson, Britt Woodman – trombone; John Sanders - valve trombone; Jimmy Hamilton – clarinet; Paul Gonsalves - tenor saxophone; Jimmy Woode – bass; Sam Woodyard - drums

The Cosmic Scene

Jive Aces - Diggin' The Roots vol.1

Styles: Swing
Year: 2017
File: MP3@320K/s
Time: 38:45
Size: 92,4 MB
Art: Front

(3:18) 1. Rock 'N' Roll Movie Star
(2:48) 2. Feelin' Happy
(3:11) 3. Mama, He Treats Your Daughter Mean (feat. Cassidy Janson)
(2:31) 4. No. 13 (Fruit Boots)
(2:47) 5. Choo Choo Ch'Boogie
(2:27) 6. Giddy Up A Ding Dong (feat. Chris Wilkison)
(3:21) 7. Bad News
(3:51) 8. Alright, Ok, You Win
(2:01) 9. I Want You To Be My Baby (feat. Cassidy Janson)
(2:56) 10. Rok 'N' Roll Boogie
(2:38) 11. Ain't Nobody Here But Us Chickens
(3:39) 12. Jump, Jive And Wail
(3:11) 13. Loch Lomond

The Jive Aces are a six-piece UK based, high energy, jive and swing band, formed in 1989. They were the winners of BBC TV's Opportunity Knocks, and Britain's Got Talent semi-finalists in 2012. They have recorded singles and albums, and have performed at numerous music festivals.The band is widely recognised as one of the top swing bands in the world, something borne out by their extensive international travel (the band has performed in over 30 countries). The June 2015 issue of "Vintage Rock" magazine described them as the "UK's number one jive and swing band"" in a six page feature on the band titled "Leaders of the Pack". They have received an award from Variety, the Children's Charity for their charity work, and the City of Derry International Music Award in 2006.

On 9 July 2010, the band headlined at the first ever swing dance at the Royal Albert Hall They played to approximately 1,400 dancers on the 5,000-square-foot (460 m2) dance floor, with support from the Back To Basie Orchestra and Top Shelf Jazz. In late August 2010, the Jive Aces performed at the Edinburgh Fringe Festival in a show tributing one of their musical heroes, Louis Prima. In February 2011, after recording in Los Angeles, they toured the United States, including opening for legendary singer Keely Smith, the former wife of Louis Prima Keely Smith has also sung with the band on a number of occasions, including shows in Los Angeles, Palm Desert, Phoenix and at the Edinburgh Fringe. The band played London's famous jazz venue Ronnie Scotts for the first time in July 2011.[23] In Spring 2015, the band did their biggest tour to date, 6 weeks of major theatres around the US (mostly 1000-2000+ capacity). The tour was a huge success, with more major US tours to follow in Winter 2015 and 2016 https://en.wikipedia.org/wiki/The_Jive_Aces

Diggin' The Roots vol.1

Wednesday, August 30, 2017

Charles Brown - So Goes Love

Bitrate: MP3@320K/s

Time: 55:11

Size: 126.3 MB

Styles: Urban blues, West Coast blues

Year: 1998

Art: Front

[4:39] 1. New Orleans Blues

[5:28] 2. My Heart Is Mended

[3:24] 3. Oh Oh What Do You Know About Love

[3:57] 4. Money's Gettin' Cheaper

[4:47] 5. She's Gone Again

[3:47] 6. I'll Get Along Somehow

[4:09] 7. So Goes Love

[3:59] 8. Stormy Monday

[4:57] 9. Sometimes I Feel Like A Motherless Child

[6:06] 10. Ain't No Use

[5:58] 11. You'll Never Know

[3:55] 12. Blue Because Of You

Charles Brown - Vocals; Harvey Wainapel - Sax (Alto); Danny Caron - Guitar; Ruth Davies - Bass; Teddy Edwards - Sax (Alto), Sax (Tenor); Mary Fettig - Sax (Alto); Allen Smith - Trumpet; Marty Wehner - Trombone; Recorded April 1-4, 1996 at The Plant, Sausalito, California.

Like his previous two efforts for Verve, These Blues and Honey Dripper, So Goes Love doesn't really offer anything new from Charles Brown, but that' hardly a bad thing. Again, he serves up a collection of appealing, laidback blues that often drifts into jazz territory. The repertoire is a tad too predictable ("Stormy Monday," "Sometimes I Feel Like a Motherless Child"), but the performances are so lovely that there's no reason to complain. So Goes Love is hardly the first album to pick up if you're beginning a Brown collection, but once you've been introduced to his charms, it's quite welcome. ~Stephen Thomas Erlewine

So Goes Love

Seawind - Reunion

Bitrate: MP3@320K/s
Time: 69:32
Size: 159.2 MB
Styles: West Coast jazz
Year: 2009
Art: Front

[4:40] 1. Kept By Your Power
[5:54] 2. You're My Everything
[6:53] 3. Sunshadow
[6:38] 4. Hold On To Love (Featuring Al Jarreau On Vocals)
[5:28] 5. Follow Your Road
[6:44] 6. Free
[6:34] 7. Wayne
[5:42] 8. He Loves You (Featuring Al Jarreau Vocal Solo)
[5:16] 9. Devil Is A Liar
[5:07] 10. Pearl
[4:08] 11. Everything Needs Love
[6:22] 12. Liquid Spies

Seawind was a band formed in Hawaii in the mid-seventies that prominently featured a horn section of University of Indiana alums. The horn sections leader, Jerry Hey, would go on to be THE pop horn arranger of the eighties and nineties (often with the Seawind horns in tow for many of those sessions). Micheal Jackson, Earth Wind and Fire, and literally hundreds of others artists have used Jerry's arranging skills to add some restrained melodic punch to their recordings. Give a listen to the horn arrangement of Jackson's "Working Day and Night" - brilliant. That's what Hey did over and over again.

Seawind was more than just a springboard for Jerry Hey and the Seawind horns however. Seawind was also a highly musical and accomplished band that released four records during their career. Some of drummer Bob Wilson's songs, ("Devil is a Liar" "Follow Your Road" and "Free") are timeless jazz/rock compositions and could easily be in the rotation on any of today's few remaining jazz stations. ~Jim Stalker

It has been 29 years since Seawind's last new release!! This 12 song CD includes beautifully performed, updated 2009 arrangements of "Follow Your Road", "Free" , "Devil Is A Liar" and "He Loves You" (which also features vocalist Al Jarreau). This is by far, Seawind's best ever, recording!

Reunion

Bulow/Besiakov Quartet - A Primera Vez

Bitrate: MP3@320K/s
Time: 71:49
Size: 164.4 MB
Styles: Contemporary jazz
Year: 2003
Art: Front

[7:50] 1. You're My Everything
[6:49] 2. Inutil Paisagem
[5:46] 3. A Primera Vez
[6:06] 4. Only The Lonely
[9:16] 5. The Best Things In Life Are Free
[6:33] 6. Loose
[6:47] 7. The Way You Look Tonight
[8:15] 8. Carminhos Cruzados
[6:13] 9. In The Last Minute Blues
[8:09] 10. How Long Has This Been Going

Christina von Bülow: altosax; Ben Besiakov: piano; Daniel Franck: bass; Frands Rifbjerg: drums.

This quartet from Denmark is lead by Christina von Bülow (alto sax) and Ben Besiakov (piano). After playing together for years as sidemen in different groups – Ben and Christina decided in 2001 to start a quartet together. It seemed an obvious choice to have Frands Rifbjerg on drums and Anders Christensen on bass, who later (in 2005) was replaced by Daniel Franck – indeed a very swinging rhythm section!

This is what you would call a ‘true’ jazz quartet inspired by groups led by Stan Getz, Miles Davis, Dexter Gordon, Sonny Stitt and many more. The roots of jazz mean a great deal to this group. As a young teenager Ben became very good friends with Ben Webster, who was living in Denmark at that time (in the early 70’s). Webster used to call him ‘little’ Ben and they hung out and played together – an outstanding inspiration for a young and very talented musician. Years after Christina had the rare opportunity to get private lessons from Stan Getz at his home in Malibu (1990), a year before he passed away. As Webster was for Ben, Getz became a mentor for Christina.

Ben and Christina shares a great love of Brazilian music too – a passion that for them both started at a very young age. So among the jazz tunes on their repertory, there is always a couple of Brazilian tunes too from composers like A.C. Jobim, Joao Donato, etc. At the heart of their repertory is the good melody. The quartet released their first album in February 2004, called ‘A Primera Vez’ on the the Danish label Music Mecca. (www.cdjazz.dk) This cd was nominated at the Danish Music Awards for the best jazz recording in 2004.

A Primera Vez

Doug Raney - Blue And White

Bitrate: MP3@320K/s
Time: 52:17
Size: 119.7 MB
Styles: Guitar jazz
Year: 1984/1995
Art: Front

[6:16] 1. Blue And White
[7:07] 2. I Love You
[9:33] 3. Gingerbread Boy
[6:55] 4. That Old Devil Moon
[5:43] 5. Old Folks
[9:15] 6. Straight Street
[7:24] 7. Minority

Doug Raney has recorded extensively for Steeplechase since his debut as a leader in 1977. On this 1984 session, the cool-toned guitarist is accompanied by pianist Ben Besiakov, bassist Jesper Lundgaard, and drummer Aage Tanggaard, sounding reminiscent of his father, the late Jimmy Raney. The leader is the primary soloist throughout most of the date, offering lyrical takes of standards like "I Love You" and "Old Folks." His intricate interpretation of Jimmy Heath's "Gingerbread Boy" and John Coltrane's "Straight Street" also has extensively feature Besiakov to good effect. Because Doug Raney has recorded almost exclusively for European labels, he isn't as well known in his homeland, but his CDs are well worth exploring. ~Ken Dryden

Blue And White

Artie Shaw - King Of The Clarinet (1938-39 Live Performances) Disc 2

Styles: Clarinet Jazz, Swing
Year: 1993
File: MP3@320K/s
Time: 68:51
Size: 161,7 MB
Art: Front

(0:50) 1. Artie Speaks
(3:01) 2. Moonray (with Helen Forrest)
(3:19) 3. What Is This Thing Called Love
(4:06) 4. Small Fry (with Tony Pastor)
(2:25) 5. Lambeth Walk
(3:03) 6. Lillacs In The Rain (with Helen Forrest)
(3:21) 7. Out Of Nowhere
(3:37) 8. Man From Mars
(3:50) 9. Deep In A Dream (with Helen Forrest)
(2:40) 10. Softly, As In A Morning Sunrise
(2:18) 11. I Used To Be Color Blind (with Tony Pastor)
(2:34) 12. Just You, Just Me
(3:44) 13. Stardust
(2:36) 14. Night Over Shanghai (with Helen Forrest)
(4:13) 15. If I Had You
(2:30) 16. Put That Down In Writing (with Tony Pastor)
(3:32) 17. Sweet Sue
(3:23) 18. Between A Kiss And A Sigh (with Helen Forrest)
(3:08) 19. Together
(2:50) 20. St. Louis Blues
(2:25) 21. You're A Lucky Guy (with Tony Pastor)
(5:16) 22. Shine On Harvest Moon

King Of The Clarinet (1938-39 Live Performances) Disc 2

Lani Misalucha - Lani Misalucha

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 60:35
Size: 139,0 MB
Art: Front

(4:21) 1. Very Special Love
(4:59) 2. I Live For Your Love
(5:04) 3. These Dreams
(4:24) 4. Love Me Again
(4:44) 5. Come In From The Rain
(4:40) 6. Someone In The Dark
(4:04) 7. Never Knew Love Like This Before
(3:11) 8. A Certain Sadness
(3:48) 9. All In Love Is Fair
(5:56) 10. Hold Me
(4:52) 11. Always and Forever
(4:05) 12. Never My Love
(3:13) 13. I Just Wanna Stop
(3:07) 14. Christmas Won't Be The Same Without You

It didn't take long for Filipino singer Lani Misalucha to shed the title of Multiplex Queen and trade it in for the appellation "Asia's Nightingale". During the early years, the vocalist with the exotic looks put in time doing covers of songs made famous by such divas as Celine Dion, Toni Braxton, Barbra Streisand, Whitney Houston, and Mariah Carey. By the mid-'90s, critics of popular music in Misalucha's native country were calling her a diva in her own right. She took home an award as Best Singer from the Asia Song Festival in 1998. The following year saw her star shine brighter yet when she took home top honors in the Aliw Awards category of Best Lounge Act. The Awit Awards also took notice. For the single "Can't Stop Loving You," the awards competition gave Misalucha her second consecutive prize for Best Performance by a Female Recording Artist. Also in 1999, she received a Best Stage Actress nomination from the Awit Awards for her starring role as Sita in the theater production Rama and Sita, a three-hour musical. In addition to winning over the critics, Misalucha also won the hearts of a wide and steadily growing fan base, including Manila's President Joseph Estrada, who invited the vocalist to perform during his daughter's wedding and reception.

Music was always a part of Misalucha's life. Mother Esperanza Dimalanta and father Benjamin Bayot sang opera, she as a coloratura soprano and he a tenor. During Misalucha's childhood, her parents emphasized singing practice, as well as an interest in sports. Her sister, May, also grew up to enter the music business. Three more siblings, Karlyn, Novi, and Osi, were also encouraged musically, but none followed in their singing sisters' footsteps. From the age of 15, Misalucha pursued an interest in school drama productions. She triumphed with the top prize from a 1986 singing contest for gospel music, and went on to work in stage productions with the Andres Bonifacio Concert Chorus for the Cultural Center of the Philippines. She continued to win competitions, including one sponsored by the Manila Institute of Religion. Later, at Manila's Philippine Christian University, Misalucha joined the glee club. Holidays, too, gave her the opportunity to pursue her love of singing, such as when she spent Christmas holidays singing at tree-lighting ceremonies held by the Church of Jesus Christ of Latter-Day Saints, also known as the Mormons. Misalucha still belongs to the church, along with spouse Noli Misalucha and daughters Lian and Louven.

The vocalist's first professional gig came in 1993, when she sang backup in the band Law of Gravity, which was led by Bodjie Dasig. With encouragement from the bandleader and his wife, Odette Quesada, Misalucha started work on her first album, the Alpha Records release More Than I Should. The 1996 debut picked up half a dozen Katha Award nominations and a pair of Awit Award nominations. In 1998, after she performed at the Asian Song Festival, she put out her second CD, which was her first for Viva Records. ~ Linda Seida https://itunes.apple.com/us/album/reminisce/id850038135

Lani Misalucha

Astor Piazzolla - The Lausanne Concert

Styles: Latin Jazz, World Fusion
Year: 1989
File: MP3@320K/s
Time: 67:37
Size: 155,2 MB
Art: Front

( 4:30) 1. Tanguedia III
( 6:31) 2. Milonga del Angel
( 5:37) 3. Buenos Aires Hora Cero
( 8:30) 4. Adios Nonino
(10:53) 5. Mumuki
(10:35) 6. Contrabajismo
(11:13) 7. Reality
(10:28) 8. Operaciyn Tango.mp3
( 6:22) 9. Nuevo Tango
( 3:21) 10. Camorra II

Piazzolla was nearing the end of his distinguished career when he performed this concert in Switzerland in 1989; he divided it between playing classic material and debuting compositions. The first half was devoted to songs from the 1950s to the late '80s, while the second portion featured new material titled "Tango Nuevo, Nuevo." Each section was marked by swaying, hypnotic bandoneon solos with full lines, elegant melodies and romantic passages. This wasn't issued until a year after Piazzolla's death; it's a wonderful reminder of his greatness. ~ Ron Wynn http://www.allmusic.com/album/the-lausanne-concert-mw0000098773

Personnel: Soloist [Bandoneon] – Astor Piazzolla; Bandoneon – Daniel Binelli; Cello – Angel Ridolfi; Cello [Violincello] – Carlos Nozzi; Guitar – Horacio Malvicino; Piano – Gerardo Gandini

The Lausanne Concert

Terry Callier - Timepeace

Styles: Guitar Jazz, Funk, Soul
Year: 2006
File: MP3@320K/s
Time: 76:20
Size: 175,8 MB
Art: Front

(2:50) 1. Ride suite ride (intro)
(8:28) 2. Lazarus man
(4:54) 3. Keep your heart right
(5:15) 4. Java sparrow
(6:50) 5. People get ready/Brotherly love
(4:29) 6. Love theme from 'spartacus'
(5:45) 7. No more blues
(8:55) 8. Timepeace
(6:37) 9. Following your footprints
(5:04) 10. C'est la vie
(4:51) 11. Coyote moon
(4:49) 12. Aka new york al
(3:21) 13. Traitor to the race
(4:07) 14. Love theme from spartacus - zero 7 remix (Bonus Track)

For far too long, folk-jazz mystic Terry Callier was the exclusive province of a fierce but small cult following; a singer/songwriter whose cathartic, deeply spiritual music defied simple genre categorization, he went all but unknown for decades, finally beginning to earn the recognition long due him after his rediscovery during the early '90s. Born in Chicago's North Side also home to Curtis Mayfield, Jerry Butler, and Ramsey Lewis and raised in the area of the notorious Cabrini Green housing projects, Callier began studying the piano at the age of three, writing his first songs at the age of 11 and regularly singing in doo wop groups throughout his formative years. While attending college, he learned to play guitar, eventually setting up residency at a Chicago coffeehouse dubbed the Fickle Pickle and in time coming to the attention of Chess Records arranger Charles Stepney, who produced Callier's debut single, "Look at Me Now," in 1962. In 1964, Callier met Prestige label producer Samuel Charters, and a year later they entered the studio to record his full-length bow, The New Folk Sound of Terry Callier; upon completion of the session, however, Charters traveled to Mexico with the master tapes in tow, and the album went unreleased before finally appearing to little fanfare in 1968. Undaunted, Callier remained a fixture of the Windy City club scene, and in 1970 he and partner Larry Wade signed on with his boyhood friend Jerry Butler's Chicago Songwriters Workshop. There they composed material for local labels including Chess and Cadet, most notably authoring the Dells' 1972 smash "The Love We Had Stays on My Mind." The song's success again teamed Callier with Stepney, now a producer at Cadet, and yielded 1973's Occasional Rain, a beautiful fusion of folk and jazz textures that laid the groundwork for the sound further explored on the following year's What Color Is Love?

Despite earning strong critical notices and building up a devoted fan base throughout much of urban America, Callier failed to break through commercially, and after 1975's I Just Can't Help Myself he was dropped by Cadet; in 1976, he also suffered another setback when Butler closed the Songwriters Workshop. Upon signing to Elektra at the behest of label head Don Mizell, Callier resurfaced in 1978 with the lushly orchestrated Fire on Ice; with the follow-up, 1979's Turn You to Love, he finally cracked the pop charts with the single "Sign of the Times," best known as the longtime theme for legendary WBLS-FM disc jockey Frankie Crocker. He even appeared at the Montreux Jazz Festival. However, when Mizell exited Elektra, Callier was quickly dropped from his contract; after a few more years of diligent touring, he largely disappeared from music around during the early '80s; a single parent, he instead accepted a job as a computer programmer, returning to college during the evenings to pursue a degree in sociology. Although he had essentially retired from performing, Callier continued composing songs, and in 1991 he received a surprise telephone call from fan Eddie Pillar, the head of the U.K. label Acid Jazz. Pillar sought permission to re-release Callier's little-known, self-funded single from 1983, "I Don't Want to See Myself (Without You)." Seemingly overnight, the record became a massive success on the British club circuit, and the singer was soon flown to Britain for a pair of enormously well-received club dates. In the coming months, more gigs followed on both sides of the Atlantic, and in 1996, Callier even recorded a live LP, TC in DC. In 1997, he teamed with British singer Beth Orton, another of his most vocal supporters, to record a pair of tracks for her superb EP Best Bit; the following year, Callier also released his Verve Forecast debut Timepeace, his first major-label effort in close to two decades. Lifetime followed in 1999, and two years later came Alive, recorded live at London's Jazz Cafe. Callier returned in 2002 with Speak Your Peace and 2005 with Lookin' Out. In May of 2009, Hidden Conversations, co-written and produced by Massive Attack, was released on Mr. Bongo in the U.K.; a release in the United States followed in the fall of 2010. Two years later, however, he died from cancer in Chicago on October 27, 2012. Terry Callier was 67 years old. ~ Jason Ankeny http://www.allmusic.com/artist/terry-callier-mn0000027916/biography

Personnel: Acoustic Guitar – Terry Callier; Bass – Dave Barnard, Eric Hochberg; Double Bass [Bass Violin] – Eric Hochberg; Drums – Alfredo Alias , Dave Trigwell, Morris Jennings; Guitar – Dave Onderdonk, Jim Mullen, John Moulder; Percussion – Boscoe D'Olivera, Pennington McGee; Piano – Mark Edwards; Producer – Brian Bacchus, Eric Hochberg; Saxophone – Gary Plumley; Vocals – Terry Callier, Veronica Cowper

Timepeace

Shane Filan - Love Always

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 44:38
Size: 104,4 MB
Art: Front

(3:55) 1. This I Promise You
(3:45) 2. Don't Dream It's Over
(3:32) 3. Make You Feel My Love
(3:52) 4. Beautiful in White
(3:55) 5. Need You Now
(4:01) 6. Heaven
(3:36) 7. Completely
(3:49) 8. Unbreakable
(3:40) 9. Eyes Don't Lie
(4:13) 10. I Can't Make You Love Me
(3:11) 11. Crazy Over You
(3:09) 12. Eternal Flame

For 14 years, Shane Filan was a prominent member of the hugely successful boy band Westlife, an act that managed to amass no fewer than 14 U.K. number one hits before they marked their dissolution with a summer 2012 show in Dublin in front of 80,000 fans. Born in Sligo, Ireland during the last summer of the '70s, Filan went on to develop his singing voice as part of various school productions, as well as in performances at the local Hawk's Well Theatre. Before his 20th birthday he had already achieved his first number one single with Westlife, when they issued their Steve Mac -produced debut, "Swear It Again." From 1999's Westlife to 2010's Gravity, all but two of their ten studio albums reached the top of the Irish album chart, and following the October 2012 announcement of the band's plan to part ways, Filan was strongly rumored to be talking to various labels about a solo deal.

He spent much of 2012 and early 2013 writing new material, and in April 2013, it was revealed that Filan had signed with London Records. His summer 2013 debut solo single, "Everything to Me," nodded to the mainstream folk of the Lumineers and Mumford & Sons, and an album, You & Me, was released that November. ~ James Wilkinson https://itunes.apple.com/us/album/love-always/id1253910517

Love Always

Tuesday, August 29, 2017

Bonnie Raitt - Playlist: The Best Of The Warner Bros. Years

Bitrate: MP3@320K/s
Time: 69:18
Size: 158.7 MB
Styles: Pop/Rock/Blues
Year: 2016
Art: Front

[2:55] 1. Too Long At The Fair
[3:28] 2. What Is Success
[3:42] 3. You've Been In Love Too Long
[3:54] 4. Angel From Montgomery
[3:34] 5. I Ain't Blue
[4:38] 6. I Feel The Same
[3:46] 7. Love Has No Pride
[3:56] 8. Runaway
[3:23] 9. I'm Blowin' Away
[3:25] 10. Bluebird
[3:26] 11. Home
[3:41] 12. Under The Falling Sky
[3:00] 13. My First Night Alone Without You
[2:46] 14. Thank You
[2:58] 15. Guilty
[3:09] 16. Love Me Like A Man
[3:06] 17. Since I Fell For You
[4:40] 18. That Song About The Midway
[2:57] 19. Good Enough
[2:45] 20. Louise

Raitt was born in Burbank, California. She is the daughter of the Broadway musical star John Raitt and his first wife, the pianist Marjorie Haydock, and was raised in the Quaker tradition. She began playing guitar at Camp Regis-Apple Jack in Paul Smiths, NY, at an early age. Later she gained notice for her bottleneck-style guitar playing. Raitt says she played "a little at school and at [a summer] camp", Camp Regis-Applejack, in New York. Raitt is of Scottish ancestry, with her ancestors being those who constructed Rait Castle near Nairn.

After graduating from Oakwood Friends School in Poughkeepsie, New York, in 1967 Raitt entered Radcliffe College, majoring in social relations and African studies. She said her "plan was to travel to Tanzania, where President Julius Nyerere was creating a government based on democracy and socialism". Raitt became friends with blues promoter Dick Waterman. During her second year of college Raitt took a semester off and moved to Philadelphia with Waterman and other local musicians. Raitt says it was an "opportunity that changed everything."

Raitt used alcohol and drugs, but began psychotherapy and joined Alcoholics Anonymous in the late 1980s. She has said "I thought I had to live that partying lifestyle in order to be authentic, but in fact if you keep it up too long, all you're going to be is sloppy or dead". She became clean in 1987. She has credited Stevie Ray Vaughan for breaking her substance abuse, saying that what gave her the courage to admit her alcohol problem and stop drinking was seeing that Stevie Ray Vaughan was an even better musician when sober. She has also said that she stopped because she realized that the "late night life" was not working for her. In 1989 she said "I really feel like some angels have been carrying me around. I just have more focus and more discipline, and consequently more self-respect."

Playlist: The Best Of The Warner Bros. Years

The Art Van Damme Quintet - Blue World

Bitrate: MP3@320K/s
Time: 35:32
Size: 81.4 MB
Styles: Accordion jazz
Year: 2015
Art: Front

[2:31] 1. Blue Lou
[3:07] 2. It's A Blue World
[2:26] 3. My Kind Of Love
[3:35] 4. Laura
[2:26] 5. Too Close For Comfort
[3:10] 6. When Your Lover Has Gone
[2:15] 7. The Song Is You
[3:34] 8. The Things We Did Last Summer
[2:39] 9. Cheek To Cheek
[3:39] 10. On The Alamo
[3:08] 11. Jim
[2:57] 12. Diane

The hippest cat ever to swing an accordion, Art Van Damme dared go where no man had gone before: jazz accordion. He started taking accordion lessons at the age of nine, and moved on to classical studies after his family moved to Chicago, Illinois, in 1934. After leaving school. he played in a trio in local clubs under big band leader Ben Bernie hired him in 1941. He soon returned to Chicago, though, and continued to work the club circuit there throughout World War Two.

Van Damme was inspired by swing recordings, particularly Benny Goodman's, and in the late 1930s, he began experimenting, adapting Goodman solos to the accordion. Throughout his career, he would often be compared to Goodman, since the two were both classically trained, technical masters of their instruments, and versatile and creative jazz soloists. As time went on, Van Damme moved into more adventurous territory, closer to mainstream jazz. His later Columbia albums feature him at the lead of small, tight combos, and include a mix of standards and Van Damme's own slightly bebop-ish originals.

Although a number of other accordionists ventured into jazz territory after Van Damme broke the trail, he remains the acknowledged master. As one reviewer recently wrote, he dispatches "Right-hand runs with a velocity and lightness of touch that defied the presumed limitations of the instrument," while at the same time, "Consistently emphasizing the lyric contours of a melodic phrase rather than the lightning technical flourishes that led up to it."

He eventually retired to Florida. He announced at his 75th birthday party that he intended to hang up his squeezebox for good, telling one interview that he felt like he'd played enough for one lifetime, but he continued to perform occasionally, appearing at clubs throughout the U.S. until as late as 2008.

Blue World

Pablo Milanes - Renacimiento

Bitrate: MP3@320K/s
Time: 35:40
Size: 81.7 MB
Styles: Latin pop/jazz
Year: 2013
Art: Front

[4:38] 1. En Paz
[3:20] 2. Apocalipsis
[4:11] 3. Dulces Recuerdos
[2:01] 4. Los Males Del Silencio
[5:30] 5. Cual Si Fuera A Morir Esta Mañana
[3:03] 6. Homenaje Al Changüí
[6:21] 7. Canto A La Habana
[3:56] 8. Amor De Otoño
[2:37] 9. El Otoño Del Amor

Along with Silvio Rodriguez, Pablo Milanés was one of the crucial figures in Cuba's nueva trova popular-song movement of the late '60s; sponsored by Fidel Castro's government, the collective of nueva trova musicians were essentially supposed to reconfigure and update traditional Cuban folk musics for the nation's new, modern, post-revolutionary society. Milanés gained renown for his highly poetic lyrics and smooth yet emotional singing, becoming one of the most popular and respected Cuban musicians and songwriters of the late 20th century, and releasing a hefty number of records. He is a controversial figure to some -- exiles despise his staunch support of Castro, while others criticize his musical forays into sentimental, orchestrated jazz-pop -- but his status as one of the most important links between traditional and contemporary Cuban music has remained virtually unassailable into the new millennium. ~bio by Steve Huey

Renacimiento

Paula Cole - Ballads

Bitrate: MP3@320K/s

Time: 75:07

Size: 172.0 MB

Styles: Jazz vocals

Year: 2017

Art: Front

[5:12] 1. God Bless The Child

[3:38] 2. I Wish (I Knew How It Feels To Be Free)

[3:46] 3. Naima

[4:47] 4. Ode To Billy Joe

[4:43] 5. You've Changed

[2:27] 6. What A Little Moonlight Can Do

[2:47] 7. I'm Old Fashioned

[6:33] 8. The Lonesome Death Of Hattie Carroll

[2:18] 9. Never Will I Marry

[3:36] 10. Skylark

[7:36] 11. The Ballad Of Hollis Brown

[3:41] 12. Body And Soul

[2:19] 13. Nice Work If You Can Get It

[3:06] 14. Farewell, My Friends

[3:51] 15. I Cover The Waterfront

[3:00] 16. Blue Moon

[1:47] 17. You Hit The Spot

[4:11] 18. Willow Weep For Me

[2:14] 19. Autumn Leaves

[3:26] 20. My One And Only Love

“It is truly my time now, at 50.” – Paula Cole.

More beautiful than ever, in a twenty-plus-year-career, Paula Cole releases Ballads, a twenty-song collection of American jazz and folk classics from the 1930’s to the 1960’s. It is dedicated to her father, Jim Cole. Cole started as a jazz singer and now returns, at nearly 50 years of age, to pay homage to her first love of jazz and folk. A self-described “mother and human being first” Cole is a timeless voice not only in song, but for those who have felt pain, and who still stand shining light, against all odds. With a voice that is big, rich and gorgeous, a mind that is intelligent, and a heart that transforms suffering into beauty, Paula Cole sings for our enlightenment, for our souls.

Ballads is a journey to Billie Holiday and Bob Dylan, to John Coltrane and Nina Simone, to Bobbie Gentry and Nancy Wilson, sung by a stunning Paula Cole we’ve not yet heard. Start pouring the fine wine. Some things get better with age.

Ballads

Lee Ritenour's 6 String Theory - S/T

Bitrate: MP3@320K/s
Time: 67:48
Size: 155.2 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[5:54] 1. Lay It Down (Feat. John Scofield)
[4:08] 2. Am I Wrong (Feat. Keb Mo, Taj Mahal)
[4:51] 3. L.P. (For Les Paul) (Feat. Pat Martino, Joey Defrancesco)
[5:14] 4. Give Me One Reason (Feat Robert Cray, Joe Bonamassa)
[4:58] 5. 68 (Feat. Slash, Neal Schon, Steve Lukather)
[5:56] 6. In Your Dreams (Feat. Neal Schon, Steve Lukather)
[1:45] 7. My One And Only Love (Feat. George Benson)
[4:58] 8. Moon River (Feat. George Benson)
[6:34] 9. Why I Sing The Blues (Feat. BB King, Jonny Lang, Keb Mo, Vince Gill)
[1:54] 10. Daddy Longlicks (Feat. Joe Robinson)
[4:48] 11. Shape Of My Heart (Feat. Andy Mckee, Steve Lukather)
[3:40] 12. Drifting (Feat. Andy Mckee)
[4:56] 13. Freeway Jam (Feat. Mike Stern, Tomoyasu Hotei)
[4:33] 14. Lee Fives (Feat. Guthrie, Govan, Tal Wilkenfield)
[3:31] 15. Caprices, Op. 20, No. 2 And 7 (Feat. Shon Bublil)

On his release 6 String Theory, Ritenour is among twenty legendary world class guitarists who guest on the recording, produced with John Burk of Concord Records. Joining him in this tribute to the guitar, the all-star line-up includes: George Benson, BB King, Slash, Steve Lukather, John Scofield, Robert Cray and Vince Gill among many other superstars. Blending rock, blues, jazz, acoustic, country and classical, they come together for a seamless project that promises to take the listener on a musical journey and exploration of the guitar.

Lee Ritenour's 6 String Theory

Ron Carter - Dear Miles,

Bitrate: MP3@320K/s
Time: 52:44
Size: 120.7 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[4:45] 1. Gone
[4:53] 2. Seven Steps To Heaven
[8:03] 3. My Funny Valentine
[3:41] 4. Bags' Groove
[6:44] 5. Someday My Prince Will Come
[4:34] 6. Cut And Paste
[5:01] 7. Stella By Starlight
[4:57] 8. As Time Goes By
[5:26] 9. Bye Bye Blackbird
[4:34] 10. 595

Ron Carter: bass; Stephen Scott: piano; Peyton Crossley: drums; Roger Squitero: percussion.

The fact that the late iconic trumpeter Miles Davis still generates controversy is a real indicator of his earth-shaking impact on the genre. What's your favorite Miles debate: Acoustic Miles, or Electric Miles? Kind of Blue (Legacy, 1959), or Bitches Brew Legacy, 1969)? Bill Evans, or Bill Evans? Tutu: An affront to all that's good and true, or just a really bad career move?

As one-fifth of the "second great Miles Davis Quintet, bassist Ron Carter had a ringside seat for Miles' transition from jazz icon to jazz-fusion hero (or heretic, depending on your world view). Although he's taken part in Four Generations of Miles and VSOP, Carter has kept his own recording efforts away from the burgeoning Miles-tribute-disc market, out of respect for his former leader. Then again, it could be a case of "Take your time, do it right. Carter has definitely done it right on Dear Miles, the bassist's second great release of 2007.

While recent tributes by saxophonist Dave Leibman and trombonist Conrad Herwig operate on a macro scale, Carter goes the other way, using his working quartet to forge an impeccably nuanced set that links several of Miles' early phases with the 1960s unit Carter anchored. When you break it down, Carter's quartet is a four-piece rhythm section, and that makes for a satisfyingly aggressive final product, even in Dear Miles' quietest moments. Dear Miles is a fantastic set of bold interpretations; it is respectful to its subject while never losing its need to be unique. I'd say that sounds like Miles to a T. ~J. Hunter

Dear Miles,

Artie Shaw - King Of The Clarinet (1938-39 Live Perfomances) Disc 1

Styles: Clarinet Jazz, Swing
Year: 1993
File: MP3@320K/s
Time: 64:31
Size: 151,3 MB
Art: Front

(0:33) 1. Nightmare (Opening Theme)
(2:43) 2. Rose Room
(2:54) 3. Comes Love (with Helen Forrest)
(4:00) 4. Carioca
(2:55) 5. You're Mine You
(2:30) 6. Go Fly A Kite (with Tony Pastor)
(3:14) 7. Yesterdays
(2:41) 8. Don't Worry 'Bout Me (with Helen Forrest)
(2:30) 9. My Heart Stood Still
(2:26) 10. Traffic Jam
(3:25) 11. Melancholy Lullaby (with Helen Forrest)
(5:07) 12. In The Mood
(2:41) 13. Sweet Adeline (with Tony Pastor)
(3:24) 14. Lover Come Back To Me
(3:13) 15. Two Sleepy People (with Helen Forrest)
(2:27) 16. I'm Coming Virginia
(3:36) 17. One Foot In The Groove
(3:51) 18. Just A Kid Named Joe (with Tony Pastor)
(3:43) 19. Blue Interlude
(3:34) 20. Day In, Day Out (with Helen Forrest)
(2:53) 21. Leapin' At The Lincoln

One of jazz's finest clarinetists, Artie Shaw never seemed fully satisfied with his musical life, constantly breaking up successful bands and running away from success. While Count Basie and Duke Ellington were satisfied to lead just one orchestra during the swing era, and Benny Goodman (due to illness) had two, Shaw led five, all of them distinctive and memorable. After growing up in New Haven, CT, and playing clarinet and alto locally, Shaw spent part of 1925 with Johnny Cavallaro's dance band and then played off and on with Austin Wylie's band in Cleveland from 1927-1929 before joining Irving Aaronson's Commanders. After moving to New York, Shaw became a close associate of Willie "The Lion" Smith at jam sessions, and by 1931 was a busy studio musician. He retired from music for the first time in 1934 in hopes of writing a book, but when his money started running out, Shaw returned to New York. A major turning point occurred when he performed at an all-star big band concert at the Imperial Theatre in May 1936, surprising the audience by performing with a string quartet and a rhythm section. He used a similar concept in putting together his first orchestra, adding a Dixieland-type front line and a vocalist while retaining the strings. Despite some fine recordings, that particular band disbanded in early 1937 and then Shaw put together a more conventional big band.

The surprise success of his 1938 recording of "Begin the Beguine" made the clarinetist into a superstar and his orchestra (who featured the tenor of Georgie Auld, vocals by Helen Forrest and Tony Pastor, and, by 1939, Buddy Rich's drumming) into one of the most popular in the world. Billie Holiday was with the band for a few months, although only one recording ("Any Old Time") resulted. Shaw found the pressure of the band business difficult to deal with and in November 1939 suddenly left the bandstand and moved to Mexico for two months. When Shaw returned, his first session, utilizing a large string section, resulted in another major hit, "Frenesi"; it seemed that he could not escape success. Shaw's third regular orchestra, who had a string section and such star soloists as trumpeter Billy Butterfield and pianist Johnny Guarnieri, was one of his finest, waxing perhaps the greatest version of "Stardust" along with the memorable "Concerto for Clarinet." The Gramercy Five, a small group formed out of the band (using Guarnieri on harpsichord), also scored with the million-selling "Summit Ridge Drive." Despite all this, Shaw broke up the orchestra in 1941, only to re-form an even larger one later in the year. The latter group featured Hot Lips Page along with Auld and Guarnieri. After Pearl Harbor, Shaw enlisted and led a Navy band (unfortunately unrecorded) before getting a medical discharge in February 1944. Later in the year, his new orchestra featured Roy Eldridge, Dodo Marmarosa, and Barney Kessel, and found Shaw's own style becoming quite modern, almost boppish. But, with the end of the swing era, Shaw again broke up his band in early 1946 and was semi-retired for several years, playing classical music as much as jazz.

His last attempt at a big band was a short-lived one, a boppish unit who lasted for a few months in 1949 and included Zoot Sims, Al Cohn, and Don Fagerquist; their modern music was a commercial flop. After a few years of limited musical activity, Shaw returned one last time, recording extensively with a version of the Gramercy Five that featured Tal Farlow or Joe Puma on guitar along with Hank Jones. Then, in 1955, Artie Shaw permanently gave up the clarinet to pursue his dreams of being a writer. Although he served as the frontman (with Dick Johnson playing the clarinet solos) for a reorganized Artie Shaw Orchestra in 1983, Shaw never played again. He received plenty of publicity for his eight marriages (including to actresses Lana Turner, Ava Gardner, and Evelyn Keyes) and for his odd autobiography, The Trouble With Cinderella (which barely touches on the music business or his wives), but the outspoken Artie Shaw deserves to be best remembered as one of the truly great clarinetists. His RCA recordings, which were reissued in complete fashion in a perfectly done Bluebird LP series, have only been made available in piecemeal fashion on CD. ~ Scott Yanow http://www.allmusic.com/artist/artie-shaw-mn0000511029/biography

King Of The Clarinet (1938-39 Live Perfomances) Disc 1

Suzy Bogguss - Swing

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 37:07
Size: 86,5 MB
Art: Front

(2:32) 1. Straighten Up and Fly Right
(3:09) 2. My Dream is You
(4:07) 3. Comes Love
(2:40) 4. Sweetheart (Waitress in a Donut Shop)
(1:57) 5. Jumping Into Spring
(4:48) 6. Do Nothing Till You Hear From Me
(2:51) 7. Burning the Toast
(3:32) 8. It's Always New to Me
(2:32) 9. Cupid Shot Us Both With One Arrow (With Ray Benson)
(3:33) 10. Picadilly Circus
(2:17) 11. It's All About You
(3:04) 12. Stay Out of My Dreams

Suzy Bogguss has had a very successful career in the contemporary country arena in the 1980s and ‘90s. Her debut recording for Liberty Records, Somewhere In Between, was critically well received and contains songs by Nashville and Austin royalty Rodney Crowell, Guy Clark, and Merle Haggard. Ms. Bogguss today finds herself with a new label and a bit of a new direction. This is not strictly a jazz record to be sure, and Suzy Bogguss is not the first artist to attempt to crossover into a jazz/swing genre. Where Ms. Bogguss chimes in with novelty is her foray into western swing. Joining Bogguss is Asleep At The Wheel’s Ray Benson, who exerts a great deal of creative control over the recording, casting the songs in a more commercially appealing light than a hard western swing one. The absence of the pedal steel guitar, long a western swing staple, is to be owed for this softer brand of this genre. Ms. Bogguss has a perfect voice for this material, and I would hazard to say a better voice than many of the recent vocal jazz recordings crossing my desk. She brings a complete package to the table. Ms. Bogguss includes both standards and original compositions on the recording, all offered in a light swing style. Of the standards, Nat King Cole’s "Straighten Up and Fly Right," Ellington’s "Do Nothing ‘Til You Hear from Me," and Billie Holiday’s "Comes Love" are the most effective. But added to this palette are the more contemporary songs of April Barrows, including the very innovative and clever "Burning the Toast" and "Cupid Shots Us Both With One Arrow." Benson’s trademark guitar is present throughout and Jason Robert’s fiddle provides just enough of the swing in this western swing recording. ~ C. Michael Bailey https://www.allaboutjazz.com/swing-suzy-bogguss-compadre-records-review-by-c-michael-bailey.php

Personnel: Suzy Bogguss (vocals); Jason Roberts (guitar, fiddle); Dave Biller, Ray Benson (guitar); John Mills (clarinet, saxophone); Floyd Domino (piano); Spencer Starnes (bass); David Sanger (drums).

Swing

Stanley Turrentine - Look Out!

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 55:06
Size: 128,3 MB
Art: Front

(7:12) 1. Look Out!
(4:58) 2. Journey Into Melody
(4:50) 3. Return Engagement
(7:51) 4. Little Sheri
(5:02) 5. Tiny Capers
(6:13) 6. Minor Chant
(6:18) 7. Tin Tin Deo
(6:58) 8. Yesterdays
(5:41) 9. Little Sheri [45rpm-single take]

This 1960 set is from a period which many consider to have been Stanley Turrentine's most creative. The saxophonist, who would have been 75 this month (March), was just coming out of an extended run with Max Roach's notably up-tempo orchestra. Backed here by a then-emerging powerhouse of sidemen, the set kicks off with the title track, a tersely phrased Turrentine blues composition. The straightforward rhythm section bassist George Tucker and drummer Al Harewood makes a perfect berth for some wide open and bouncing solos from pianist Horace Parlan and the composer's tenor sax. It's followed by an unexpected treat. "Journey Into Melody" is a luxuriant piece by British conductor Robert Farnon. Well-known for his lush orchestrations, his music would hardly be expected to turn up on a Turrentine session, he who only a few years earlier had taken Coltrane's seat in Earl Bostic's band. But it all works easily between these two romanticists. The great Ben Webster was a major influence on Turrentine, and a tender sound very akin to Webster's is evident on this leisurely, warmly played melody. Another Turrentine tune, "Little Sheri," is dedicated to his then-young daughter, and grew to become a signature tune for the saxophonist. Here, after a warm, low-key intro by Turrentine accentuated by Harewood's brushes, Parlan swings in with some easy, gentle chords. Throughout the set, Turrentine and especially Parlan give out with a grabbing, bluesy soul quality. Back in the early '50,s Turrentine had recorded with Ray Charles and echoes of that special soul sound appear here. Turrentine's partnering with Parlan here is especially notable, presaging other memorable recordings of theirs for this same label. But it was here that they really began to cook and the heat is palpable. ~ Andrew Velez https://www.allaboutjazz.com/look-out-stanley-turrentine-blue-note-records-review-by-andrew-velez.php

Personnel: Stanley Turrentine: tenor saxophone; Horace Parlan: piano; George Tucker: bass; Al harewood: drums.

Look Out!